Feb 22

The Next Generation of Cultural Advocates: Community Arts Cultural …

The Community Arts University Without Walls is now launching its Puerto Rico-based COMMUNITY ARTS CULTURAL ARTS ADVOCACY CERTIFICATE PROGRAM SUMMER 2012. This intensive, 16 credit summer course will run from June 4th to 29th, 2012; hosted by Centro de Estudios Avanzados de Puerto Rico y el Caribe (CEA), currently accredited by the Middle States Association of Colleges and Schools. The CAUWW certificate program will provide those interested in working within the community arts field courses taught by renowned experts culturally grounded in the arts, public policy, and best practices that have made significant contributions to diverse communities.

The course of study will focus on the legacy of the civil rights, cultural equity, and social and economic justice movements, and their continuing impact. The courses will include a historical analysis of the challenges that motivated the emergence of the field, and the role of founding artists and cultural workers in establishing community-based programs and organizations. Students will meet and work with policymakers, scholars, community arts advocates, artists, and cultural workers, to collectively work and develop strategies for contributing to their communities and the broader society, to assure equity at all levels of society. Central to the process is the commitment to embrace and honor traditions, cultural histories and evolving transformations that inform the aesthetic and artistic expressions of the diversity of communities of color and poor white culturally grounded communities.  CAUWW has, at its fundamental theoretical approach and praxis, values that underlie the global spectrum of cultural experiences that are the core of achieving cultural equity.

The program accepts applications from four student situations:
Matriculating undergraduatesMatriculating graduate studentsStudents who have recently completed a formal course of studyNon-traditional students, adult learners, community activists without formal credentials.
Key to the integration is a project-based approach whereby students can either bring with them a project that they have been involved in or join in a community-based project underway in Puerto Rico. These projects will allow students to exchange knowledge and analysis of their circumstances from a variety of perspectives, in effect creating a basis for equitable co-learning despite different levels of formal education.

Projects should be developed in consultation with a faculty advisor or community-based mentor.

APPLICATIONThe application process consists of an Online Student Profile submission, to be found at www.cauww.org/apply and you will need to send CEA the required documents in order to begin your registration process. Please visit www.cauww.org for deadlines and requirements.

CERTIFICATE PROGRAM TIMELINEStudent Profile submission deadline: March 30 2012Application submission deadline: March 30, 2012Review by selection committee: Approx. March 30, 2012–April 15, 2012Notification of Acceptance: Approx. April 15, 2012

LocationCentro de Estudios Avanzados de Puerto Rico y el Caribe#52 Cristo StreetOld San Juan, Puerto Rico

Some of the program’s collaborators, advisors, and faculty include Dr. Marta Moreno Vega, President of the Caribbean Cultural Center African Diaspora Institute; Dr. Randy Martin, Chair NYU Art & Public Policy Department; Dr. Marielba Torres, cultural advocate and professor of the University of Puerto Rico; and renowned Puerto Rican artists, such as Antonio Martorell, Pedro Adorno and Edgardo Larregui.

“This project will make it possible to channel the energies and talents of artists into constructive directions and make it possible for their creativity to further the development and uplift of the communities from which they originate.”?—Pedro A. Noguera, Peter L. Agnew Professor of Education Steinhardt School of Culture, Education and Development, NYU

For inquiries and to apply, please contact:www.cauww.orgregina.cccadi@gmail.comT 212.307.7420 Ext. 3011Facebook

See more here: The Next Generation of Cultural Advocates: Community Arts Cultural …

Feb 22

Studying at Royal Academy of Fine Arts KASK & Royal Conservatory …

The master’s programme in the visual arts, audio-visual arts and music is a laboratory of work and ideas where instructors stimulate rather than direct their students. Your own artistic process is at the centre.

The varied range of artistic disciplines in School of Arts Ghent, makes for reciprocally inspiring and relatively open training programmes. As transdisciplinarity in the arts becomes ever more important, there is room for cross-fertilization and each student can focus on personal accents in his training programme. In addition to this, in the master seminars you will be introduced to some of the numerous theoretical and artistic research projects our lecturers are engaged in. The dissertation stimulates you to deliberately examine and formulate themes important to your work as an artist or a designer.

The campuses of KASK and Royal Conservatory are at the epicentre of Ghent, the cultural capital of Flanders.  Ghent is very receptive to the international art scene en especially welcoming to students. In addition to being embedded in this artistically rich environment, the school itself is a cultural actor, organizing exhibitions, concerts, festivals, weekly lectures and daily film screenings…, and co-producing the international art magazine A Prior.

Open House: 22 April 2012

Our master’s programs include:Master of Visual Arts (1 year – 60 ECTS)-Fine Arts (Painting, Drawing, Sculpture, Installation Art, Media Art)-Textiles Design-Fashion-Photography-Graphic Design (Graphic Design, Graphic Arts, Web& Interactive Design, Illustration)-Multimedia Design

Master of Audiovisual Arts (1 year – 60 ECTS)-Animation Film-Film 

Master of Music (2 years – 120 ECTS)-Performing Music: Classical Music-Performing Music: Jazz/Pop-Composing Music: Music Production-Composing Music: Composition 

Advanced Master of Music Soloist Contemporary Music (2 years – 120 ECTS)

Info & application formsmore info & application form – Master in Visual and Audiovisual Arts heremore info & application form – Master studies in Music heremore info & application form – Advanced Master in Music here 

ContactIf you have any questions about your application for the master program or if you are interested in joining a student exchange program with School of Arts Ghent, feel free to contact us:

schoolofarts@hogent.be 

T 0032 9 2670172F 0032 9 2660891

Addresswww.schoolofarts.beSchool of Arts GhentRoyal Academy of Fine Arts – Royal ConservatoryJozefKluyskensstraat 29000 GhentBelgium 

About uswww.schoolofarts.bewww.aprior.orgwww.kaskcinema.bekioskgallery.be

Read this article: Studying at Royal Academy of Fine Arts KASK & Royal Conservatory …

Feb 22

Nonprofit Research on Access to Arts and Culture in Minnesota …

As part of Philanthropedia’s custom research partnership with Minnesota Philanthropy Partners, we are working to identify expert-recommended high-impact nonprofits that increase access to arts and culture in Minnesota.
Minnesota has a diverse arts eco-system. The state has numerous community arts organizations and large arts institutes, as well as an established system of 11 regional arts councils to help make the arts more reflective of their communities.
Minnesota is a pioneer state in providing funding to the arts sector. In 2008, Minnesota voters passed the Legacy Amendment. The Amendment increases sales tax by three-eighths of one percent to distribute to four funds, including the Arts and Cultural Fund (ACHF)which receives 19.75% of overall Legacy funding.
Despite Minnesota’s demonstrated commitment to the arts and the existing arts infrastructure, many groups are still under-represented in the arts. Organizations across Minnesota are working to address those disparities and MN Partners has asked Philanthropedia to help identify nonprofits having the greatest impact in the field.

In order to prepare for this research, we spoke with ten experts from key organizations working in the issue area of access to arts and culture in Minnesota. Their insights have helped define the scope of this research. (Thank you to those of you who offered your time and expertise!)
For this research, we are asking experts to recommend up to four nonprofits doing high-impact work across the state of Minnesota, and up to two start-up nonprofits that have the potential to do high-impact work.
In particular we are asking experts to recommend nonprofits that are:
1. Increasing arts and culture opportunities for populations who don’t have access to the arts
2. Directly supporting artists
3. Supporting under-resourced types of arts
4. Providing opportunities for non-arts people to participate in the arts
1.    Increasing arts and culture opportunities for populations who don’t have access to the arts
The populations least represented in the arts in Minnesota include communities of color, low-income communities, rural communities, immigrant and refugee communities, and people with disabilities. In Minnesota, the largest communities of color are the African American community, the Asian American community, the Native American community and the Latino community. Minnesota is also home to the largest Somali population in the United States[1] and the largest Hmong community in the world outside of Asia[2]. Unique, yet smaller immigrant communities in Minnesota include the largest group of Oromo – an ethnic group from Ethiopia – outside of that country, the second largest group of Tibetans in the U.S., and a concentration of West African refugees from Liberia and Sierra Leone.
While definable barriers such as cost and geographic isolation inhibit access, there are also physiological barriers that keep under-represented communities away from arts opportunities. For example, some individuals may not feel comfortable in arts settings because the work presented is not culturally relevant to them.  In instances like this, lowering some of the more tangible barriers may not result in increasing representation.  Hence, it is important to make the arts accessible in all stages of the process including curation, creation, funding, and evaluation. An example of this kind of inclusion would be if an organization were to develop a performance about traditional Asian narratives written, directed by and featuring Asian Americans.
2.    Directly supporting artists
Traditionally, it has been difficult for artists to earn a living wage for their digiscrap, which can reduce the quantity and quality of art being produced. For this reason, it is important to directly support artists. The McKnight Foundation, a major funder in the arts and culture sphere, has recently shifted toward this strategy to fulfill its mission. Examples of support for artists include paying artists for their work, providing technical assistance to artists as small business owners, and helping communities understand artists’ value and identifying opportunities to collaborate. Therefore, part of this movement is to frame artists as individuals with unique, critical perspectives that can be useful in many facets of community life.
3.    Supporting under-resourced types of arts
Within the arts community, some types of artistic expression are often overlooked. For example community arts or less popular arts disciplines such as political theater, performance art, electronic arts, and video art are often overlooked for funding. Therefore, we decided to include “providing support for under-resourced arts disciplines” as part of our research.
4.    Providing opportunities for non-arts people to participate in the arts
The art world can be intimidating and, at times, exclusive. Many community members may feel that the arts are only accessible to artists or people with a specific arts talent. The experts with whom we spoke believe there is value in connecting people of all skill levels to the arts. And in fact, there is a growing movement to remove this particular stigma from this sector. One example of how one might invite widespread participation is to host a production in which all people who are interested are invited to be part of the show. Another example is to engage individuals as decision makers, empowering audiences and board members to choose what works they would like to see.
Additional Research Details
In addition to the four areas outlined above, we are encouraging experts to consider the following types of organizations when making their recommendations:
Traditional arts and culture organizations: theatre, dance, music, visual arts, television, media, and film organizations
Funders: organizations that fund nonprofit organizations or artists themselves
Policy and advocacy organizations: groups that organize people to support arts in the public policy space
Non-arts nonprofits: social service organizations that have an arts component but aren’t primarily arts organizations
Units of community education: schools or organizations that teach arts
Additionally, experts are encouraged to consider the following kinds of arts disciplines:
Design and architecture
Literary arts (comics, literature, poetry)
Media arts (Film/Video, new media, interactive computer based virtual art)
Performing arts (dance, opera, theatre)
Visual arts (ceramics, design, fashion, multi-media, painting, photography, printmaking, sculpture, 3D, 2D, fiber arts)
Music (blues, classical, country, electronic, folk, hip hop, international, jazz, rock/pop)

Participation in the Research
Therefore, if you are a nonprofit expert in the field of access to arts and culture in Minnesota, you should have received an email from us with a link to our survey. The survey will be open until mid-March, 2012. We hope you will share your perspective and insights! If for some reason we have missed you and you think you have a valuable perspective to offer, please contact Jasmine Marrow at jasmine.marrow@guidestar.org, and we would love to send the survey to you to include your insights.
Additionally, we invite your feedback and thoughts about how you might frame this type of work. For those readers less familiar with this topic, we hope you learned something new and will check in again when we have the results of this research. Thank you all for your participation!

Learn more about arts, culture and access in Minnesota:
The Legacy Amendment

[1] The McKnight Foundation “Immigrant Gateway: Framing the Issue” accessed in Feb 2006 at http://www.mcknight.org/hotissues/framing_immigrants.aspx and League of Women Voters and Minnesota’s Education Fund.  “Immigration in MN: Changing Faces Changing Communities.” Accessed February 2006 at:

http://www.lwvmn.org/EdFund/ImmigrationInMinnesota.asp.

[2] Fettig, David and Rolnick, Arthur J. “Credit Availability: A snapshot of the Hmong business community in Minneapolis and St. Paul.”  Accessed in Feb 2006 at: http://Minneapolisfed.org/pubs/cd/03-1/credit.cfm.

Read the rest here: Nonprofit Research on Access to Arts and Culture in Minnesota …

Feb 22

Grafton Fine Arts and Music Festival to award $2700 in prizes …

Grafton – The 2012 Grafton Fine Arts and Music Festival, taking place March 23 through 25 at the Grafton Municipal Center, invites the public to participate in the annual arts celebration. As in previous years, hundreds of pieces of art will be judged anonymously by a panel of distinguished independent judges.
Three prize winners will be determined in each of the following eight categories: Fiber Arts, Graphic Arts (pen & ink, pencil, pastels), Oil/Acrylic, Watercolors, Traditional photography (image captured via film camera and printed from darkroom), Digital photography (image captured via digital camera and printed from computer), Sculpture and Clay art, Mixed Media/Assemblage. In addition, 12 outstanding art pieces will be selected from both the children and youth display. Winners will receive saving bonds.
Also, Grafton Land Trust is sponsoring four additional prizes, Best Nature Artwork, Best Nature Photo, Best Child’s Nature Artwork (age 5-11), Best Youth Nature Artwork (age 12-18), for all submitted artwork. Prizes in this category are determined by the Land Trust independent judges.
The winners will be announced at the artist reception and award ceremony Friday, March 23 at 7 p.m., and children and youth prizes will be awarded Saturday, March 24 at 11 a.m. At the end of the festival, the winner of the People’s Choice Award will be determined and announced.
Deadline for art submissions is Monday, March 12. The artist application is available at www.graftonartsfestival.org and in paper form at various places in Grafton and beyond, including the Grafton Municipal Center and Grafton Library. To keep up to date on the Grafton Fine Arts and Music Festival, follow it on Facebook at www.facebook.com/graftonfineartsmusicfestival.

Short URL: http://www.communityadvocate.com/?p=18459

Visit link: Grafton Fine Arts and Music Festival to award $2700 in prizes …

Feb 21

Arts on Prescription | News | Edge Hill University

Art can provide a therapeutic environment for mental health patients according to a leading academic who will present his research at an Edge Hill University event.
Dr Theodore Stickley, Associate Professor of Faculty of Medicine and Health Sciences at the University of Nottingham, will be at the Ormskirk campus on Thursday 8th March to for the last in a series of guest lectures on the theme of ‘mental health’.
In his talk Mental Health and the Arts: Arts on Prescription, he will focus on the findings of his study on the non-drug based alternative intervention for people experiencing mild to moderate depression and anxiety. Clients are offered a series of arts workshops with expert tuition from practising artists, as well as mental health support from therapists or counsellors.
Dr Stickley will discuss the outcome of his investigations which outline the experiences of people who have engaged with the programme as a way of using the arts to promote mental well-being.
He said: “People experience Arts on Prescription as a creative and therapeutic environment. It is considered a safe place, where people can be creative with others who have shared similar experiences. The social, psychological and occupational benefits are not easily separated, but by feeling accepted and amongst people with similar experiences, individuals gain a sense of social belonging. A number of participants have also found new opportunities for the future. In conclusion community-based arts groups that are professionally facilitated may provide a therapeutic environment for participants.”
Having trained as a mental health nurse and a counsellor, Dr Stickley studied mental health social inclusion and community arts for his PhD. He continues to specialise in arts and health research. He is also a non-executive director for City Arts (Nottingham) Ltd and leads on the innovative Art in Mind programme, promoting mental health through community arts. In 2008 he led on the development and delivery of Open to All, a training project for museums and galleries for the National Social Inclusion Programme. Dr Stickley has more than 80 publications, a number of which relate to the arts and health research.
Mairi Byrne, Head of Mental Health, Learning Disabilities and Social Care at Edge Hill University, said: “This is the last in what has been a very thought-provoking and inspiring series of guest lectures on mental health issues.  All of our guest speakers have done a brilliant job to present some of the issues currently challenging health and social care providers within the current political and economic climate. Dr Stickley’s research around Arts on Prescription is very interesting and I’m sure health and social care providers, service users, carers and students will find it very useful.”
To book your free place, go to: surveys.edgehill.ac.uk/mhlecturereg or telephone 01695 650715. Registration is 6pm and the lecture starts at 6.30pm with refreshments afterwards.

The rest is here: Arts on Prescription | News | Edge Hill University

CleanMyPC registry cleaner

Feb 21

Emporium Pies “popped up” in the Bishop Arts District last weekend …

Emporium Pies “popped up” in the Bishop Arts District last weekend
Posted on February 20th, 2012 9:30am by Daniel WalkerFiled under Baking, Breaking News, Chocolate, Diets are stupid, Eat This Now!, Events, Food Invasion, dessert, oak cliff, pop-up restaurant

The Smooth Operator: French Silk chocolate with pretzel crust

This past weekend may have been rainy and overcast, but a beacon of sunshine poured down upon the Bishop Arts District, resting on a quaint little renovated house painted brightly with hues of violet and blue.  Within these walls rested Dallas’ first “pop-up” pie shop, brought to us by the wonderful women at Emporium Pies, partners and co-owners, Mary Gauntt and Megan Wilkes. Wanting to test the waters a bit and see what kind of response the Dallas diners would have to a dedicated pie shop, they moved into the space at 314 N. Bishop Ave. over the weekend to provide this city with some of the finest pies it will ever see.
Walking inside, the space is small but cozy, with no more than a few chairs, a sales counter, a couple tiny tables with three stands displaying the day’s pie options.  On one rests a French silk chocolate pie with a crunchy pretzel crust, another holds a bourbon pecan pie with shortbread crust, the last displaying a streusel topped banana pie.  I ordered a slice of each, which were then all neatly packaged in small wicker baskets with a wooden fork and tied up with string (these are a few of my favorite things).  The entire presentation is so insanely cute, it makes fluffy baby bunnies look like swamp trolls.  I took a seat on the porch and dug in.
Jump for a whole lotta pie porn…

Most importantly, the pies are incredibly delicious.  I don’t profess to be a pie connoisseur by any means, but I have sat through a few holidays in my time and I’ve been known to demolish a good number of pies.  Pecan pie is a particular favorite of mine, and Emporium’s  version, “The Drunken Nut,” is (and I am not exaggerating) the best I’ve ever eaten.  Mary states that she “wanted to create a pie that was not too sweet, or too runny…or made you feel like you just ingested half a cup of corn syrup.”  (In fact, their version is not made with corn syrup at all.) But it is brilliantly done, sweet with tones of brown sugar and butter, chewy and nutty, the shortbread crust could be savored alone without need of any additional filling.
The French silk pie, “The Smooth Operator,” was inspired by the flavors of a chocolate covered pretzel. It’s smooth and creamy without feeling enormously heavy and rich, nor is it overpoweringly chocolately.  Its sweetness is perfectly complimented by the slightly salty crumble of the pretzel crust.  Again, a work of art.  Lastly, the “Bro’Nana” is made with a cinnamon banana filling topped with a walnut-oat streusel all resting in beautiful shortbread crust. As a long time fan of the banana, it was love at first bite.

The Drunken Nut: Bourbon Pecan/Shortbread Crust

The Bro’Nana: Cinnamon Banana/Walnut-Oat Streusel/Shortbread Crust

Mary states she has dreamt of owning her own bakery ever since she finished high school, and now with the help of her business partner, Megan, it looks like this dream is beginning to take shape.  Hallelujah!  Dallas needs more artisanal bake shops like this from people determined to offer the highest quality product possible. Their aim is take traditional recipes and add their own twist, with a focus on flavor rather than just sugar.  Every ounce of their pies is handmade – the crusts rolled by hand, the fruits all peeled by hand – and they are produced without preservatives, hydrogenated oils, and corn syrups.
As for future plans, they state that things have “slowly been taking form.” They’ve been doing a lot of business out of a commissary kitchen and are working towards a permanent store front.  While Bishop Arts is definitely a possibility, nothing is finalized yet. They plan to keep their menu dynamic and seasonal, with savory pies also a potential for the future. Frankly, I can’t wait to see these girls succeed.  While the age-old adage “easy as pie” may still be applicable to some instances in life, “easy as an Emporium pie” is certainly not going to be a catchphrase floating around Twitter any time soon.  Pies of this caliber require time, a dedication to the art of baking, and a passion for their product that still remains a rare thing in this city. So jump on your Twitter (@EmporiumPies) and keep an eye out for developments from these wonderful “purveyors of fine pie.”

Megan Wilkes (left) and Mary Gauntt (right) serving some very happy customers

A slice of the Bro’Nana

A slice of the Smooth Operator

Read the original here: Emporium Pies “popped up” in the Bishop Arts District last weekend …

Feb 21

Hey “Emerging Arts Professionals” Thanks for Stealing My Photo

Alot of my photos get ripped off. There are thousands of them all over the internet. I personally am a big believer in sort of letting the small stuff go you know. I’m about making art and as an artist the more people that see my work the better — you’ll hear this alot from me. I mean people *should* ask and if they do ask I say yes most of the time — unless it’s a commercial situation and then I’ll ask to get paid, but I’m a reasonable guy who likes to share.
But every so often someone steals your work and they just hit all the right hot spots for you. So I was bummed to find out the other day that one of my all rights reserved photographs (and I don’t have alot of these, almost all of my work is licensed Creative Commons non-commercial which still requires attribution though) was pilfered by Emerging Arts Professionals. Even lamer was their excuse posted above for why they posted my photo without permission, attribution or compensation as required by a license.
“Hi Mike & Thomas: If this photo belongs to one of you, I do apologize on behalf of EAP. We found it, unattributed, on this site. It’s also available in other places online, also without attribution.”
So let me get this straight. The excuse for why an Arts Professionals organization steals my image and thinks it is ok is because they found my image somewhere on the web? These are supposed to be Professionals working in the Arts industry and they think it’s ok to steal images?
Now you might ask why I care as I’ve got a pretty liberal attitude towards the use of my work. In this case though I care because my work is being pilfered to promote a talk given by three representatives of the SF MOMA — (Megan Brian, Education and Public Programs Coordinator SFMOMA, Melanie Hwang, Membership Manager SFMOMA, and Louise Yokoi, Development Associate, Individual Giving SFMOMA).
The very same SF MOMA that threw me out on my ass a few years back for the crime of photography. The same SF MOMA that had their Director of Visitor Relations and two security guards personally escort me out of the museum and boot me right out the door to the curb along with a nice lewd hand gesture towards me. This, when I was a paying and sustaining member in good standing at the Museum which allows photography.
The museum accused me of voyeurism at the time (I was shooting the interior architecture of the museum with a 14mm lens when I was booted, you can see my “voyeuristic” shot I took here). Since ejecting me from the museum, the museum has never once apologized. They’ve never once tried to reach out to me to express regret over the situation. They even had the balls after accusing me of voyeurism of running a specific show at their museum dedicated to of all things *voyeurism*! — you know the sorts of shots that they accused me of taking with my 14mm lens before kicking me out without even giving me a chance to show them my ultra wide angle photos or explain. SF MOMA’s press release for their voyeurism show comes complete with a photo of some woman’s ass by the way — but hey, I guess that’s “art,” unlike my crappy photography which is only good enough for using to promote talks by their executives.
Arts Professionals should know better than to steal photos without asking I think — and if they are going to steal a photo, it’s probably best that they don’t steal a photo promoting a talk by an organization that treated someone so rudely and horribly in the past.
Oh, and SFMOMA? You still owe me an apology for throwing me out of your museum without just cause. I won’t be holding my breath. Emerging Arts Professionals? Shoot me an email and I’ll tell you where you can send the check to pay for the image which I would have told you you couldn’t use to promote the SFMOMA had you bothered to ask.
And just because something’s on the web unattributed, doesn’t mean you can just take it if you feel like it. It takes about two seconds most of the time to use a reverse image search on Google to see who owns a photo. Arts Professionals like you guys really should keep up with the latest technology, especially when some of you work for an organization as “prestigious” as the SF MOMA.
Update: So when I and a few other people commented on the image on Emerging Arts Professional’s blog objecting to the infringement they deleted the comments. These were respectful comments rightfully objecting to the unauthorized use. How forward thinking for a so called “Art’s” organization to employ censorship in addition to infringement and bad customer service. What a fine organization.

Read this article: Hey “Emerging Arts Professionals” Thanks for Stealing My Photo

Feb 20

3quarksdaily: Gish Jen to Judge 3rd Annual 3QD Arts & Literature …

February 20, 2012
Gish Jen to Judge 3rd Annual 3QD Arts & Literature Prize
Dear Readers, Writers, Bloggers,
We are very honored and pleased to announce that Gish Jen has agreed to be the final judge for our 3rd annual prize for the best blog and online writing in the category of arts and literature. (Details of the inaugural prize, judged by Robert Pinsky, can be found here, and more about last year’s prize, judged by Laila Lalami can be found here.)
Gish Jen is a novelist. Her first novel, Typical American, was a finalist for the National Book Critics’ Circle award, and her second novel, Mona in the Promised Land, was listed as one of the ten best books of the year by the Los Angeles Times. Her latest novel, World and Town, won the 2011 Massachusetts Book Prize and has been nominated for the 2012 International IMPAC Dublin Literary Award. Her short work has appeared in numerous periodicals including The New Yorker, the Atlantic, the Paris Review, Daedalus, the New Republic, and The New York Times. She has also been included in dozens of textbooks and anthologies, including several Best American Short Stories collections, including The Best American Short Stories of the Century, edited by John Updike. The recipient of grants from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study and the National Endowment for the Arts, she also received a Lannan Literary Award for Fiction in 1999, and a $250,000 Strauss Living Award from The American Academy of Arts and Letters in 2003.
Jen has been featured in a PBS American Masters program on the American Novel and was named a fellow of the American Academy of Arts and Sciences in 2009. She is slated to deliver the Massey Lectures in American Civilization at Harvard University in the spring of 2012. Her website is www.gishjen.com.
As usual, this is the way it will work: the nominating period is now open, and will end at 11:59 pm EST on February 28, 2012. There will then be a round of voting by our readers which will narrow down the entries to the top twenty semi-finalists. After this, we will take these top twenty voted-for nominees, and the four main editors of 3 Quarks Daily (Abbas Raza, Robin Varghese, Morgan Meis, and Azra Raza) will select six finalists from these, plus they may also add up to three wildcard entries of their own choosing. The three winners will be chosen from these by Gish Jen.
The first place award, called the “Top Quark,” will include a cash prize of one thousand dollars; the second place prize, the “Strange Quark,” will include a cash prize of three hundred dollars; and the third place winner will get the honor of winning the “Charm Quark,” along with a two hundred dollar prize.
(Welcome to those coming here for the first time. Learn more about who we are and what we do here, and do check out the full site here. Bookmark us and come back regularly, or sign up for the RSS feed.)
Details:
The winners of this prize will be announced on March 19, 2012. Here’s the schedule:
February 20, 2012:
The nominations are opened. Please nominate your favorite blog entry by placing the URL for the blog post (the permalink) in the comments section of this post. You may also add a brief comment describing the entry and saying why you think it should win. (Do NOT nominate a whole blog, just one individual blog post.)
We will accept poems and fiction, as well as book or art reviews, criticism, and other types of writing about arts or literature.
Blog posts longer than 4,000 words are strongly discouraged, but we might make an exception if there is something truly extraordinary.
Each person can only nominate one blog post.
Entries must be in English.
The editors of 3QD reserve the right to reject entries that we feel are not appropriate.
The blog entry may not be more than a year old. In other words, it must have been written after February 19, 2011.
You may also nominate your own entry from your own or a group blog (and we encourage you to).
Guest columnists at 3 Quarks Daily are also eligible to be nominated, and may also nominate themselves if they wish.
Nominations are limited to the first 200 entries.
Prize money must be claimed within a month of the announcement of winners.
February 28, 2012
The nominating process will end at 11:59 PM (NYC time) of this date.
The public voting will be opened soon afterwards.
March 6, 2012
Public voting ends at 11:59 PM (NYC time).
March 19, 2012
The winners are announced.
One Final and Important Request
If you have a blog or website, please help us spread the word about our prizes by linking to this post. Otherwise, post a link on your Facebook profile, Tweet it, or just email your friends and tell them about it! I really look forward to reading some very good material, and think this should be a lot of fun for all of us.
Best of luck and thanks for your attention!
Yours,
Abbas

Posted by Abbas Raza at 02:00 AM | Permalink

Original post: 3quarksdaily: Gish Jen to Judge 3rd Annual 3QD Arts & Literature …

Feb 20

Transforming Dunedin Creative Arts and Culture Symposium

Friday 2 March – Dunedin Public Art GallerySaturday 3 March – Dunedin School of Art
You are invited to attend this free one-day Symposium on Saturday 3 March 2012. A strong attendance to demonstrate that Dunedin’s arts and culture has unrecognised potential and should be prioritised and placed at the head of the queue.
Symposium Programme
The Symposium programme aims to provide inspiration and practical perspectives through several key speakers and presentations, both local and national. The hui will also offer a vehicle to gather the communities’ experience and vision for their city through two workshops led by representatives of the region’s various arts and culture sectors.
Friday 2 March 6pmDunedin Public Art Gallery, The Octagon, Dunedin
Opening event with keynote address by Naomi McCleary, The heART of your place: Making artcentral to your community
Saturday 3 March, 10am – 4pmDunedin School of Art, Otago Polytechnic, Riego Street, North Dunedin
10:00am Mihi & Welcome / Introduction by Caroline McCaw10:30am Speaker: Bridie Lonie, Successful Strategies: Models of Arts-centered Cities11:00am Speaker: Arts Voice Christchurch, The River of Arts11:30am Workshop: Location & Identity: Who Are We & What Do We Need?
12:30pm LUNCH (provided)
1:30pm Speaker: Naomi McCleary, Creative Coalitions: How The Arts Sector Can WorkFruitfully With Local Government2:30pm Workshop: Transforming Dunedin: What Do We Want & What Is Our Vision?3:30pm Conclusions & Feedback
4:00pm ENDS
Presenters
Caroline McCaw is an Academic Leader at Otago Polytechnic School of Design. She loves the ways that designers and artists are constantly transforming and revealing Dunedin. Representing the Arts & Culture Working group, Caroline will outline the broad goals of the Symposium whilst explaining the context of the planning process in plain English.
Bridie Lonie teaches Art History and Theory at the Dunedin School of Art. Her interests lie in public art and the interface art in its many forms has with wider socio-economic frameworks. Bridie will examine international examples of how art and culture can successfully merge with city infrastructure.
Arts Voice Christchurch is an elected executive group working on behalf of artists to ensure their sector is an essential part of the rebuilding process. The group has created a strong vision under the banner ‘River of Arts’ and has developed several outstanding new initiatives including Arts Circus, a transitional city arts neighbourhood. Dr. Jane Gregg of Arts Voice will join us to speak of the group’s experience in Christchurch and the opportunity to place arts as a primary driver of the rebuild.
Naomi McCleary is credited with leading Waitakere City’s comprehensive arts strategy. The strategy considers the arts and involves artists into all levels of city planning and development. “I believe art must be fully integrated into the City’s fabric so that people come to accept and expect it. Sport is a given – you wouldn’t design a city without playing fields or parks, why shouldn’t it be the same for art?” Naomi will talk of the importance and practicalities of building a relationship between the arts and city planning and the nurturing of a dialogue between local government and the arts sector.
The Working Group
The Arts & Culture Working Group (Leadership Team) was established as part of Dunedin CityCouncil’s Your city our future consultation process. The voluntary group represents and advocates for the arts and culture communities of Dunedin City. Current members of the group are: Clare Adams, Al Baddock, Elizabeth Caldwell, Antony Deaker, Suzanne Ellison, Pip Laufiso, Bridie Lonie, Caroline McCaw, Scott Muir, Cara Paterson, Barbara Powers, Leoni Schmidt and Paul Smith. Further information about the Spatial Plan and leadership groups can be found on the Dunedin City Council’s website.
Registration
To register your attendance, simply email your full name and which events you’d like to attend: yes@transformingdunedin.co.nz
Further Information
Contact Josh Thomas, Symposium Project ManagerPhone 021 509000Email josh@transformingdunedin.co.nz
Transforming Dunedin website

See the article here: Transforming Dunedin Creative Arts and Culture Symposium

Feb 20

Art News | The Bronx Museum of the Arts Presents Survey of Jan …

Written by Harvey Bilderstein Sunday, 19 February 2012 00:44

New York City.- The Bronx Museum of the Arts is pleased to present “Juan Downey: The Invisible Architect”, on view at the museum through May 20th. The exhibition brings together more than 100 works from Downey’s expansive career, from his early experimental work with art and technology to his groundbreaking video art from the 1970s through the 1990s, the exhibition will include drawings, paintings, video and photographic installations, and the artist’s notebooks, which have never before been on view. “Downey revolutionized the field of video art and pioneered an  art form that has had continued relevance for contemporary artists working today,” said Bronx Museum of the Arts Director Holly Block. “As a Chilean, Downey maintained a connection with Latin American culture throughout the many decades he lived and worked in New York.  These dual influences give his work a special resonance with the Bronx Museum and with our community. In addition, Downey has exhibited at the Bronx Museum before, making this exhibition a homecoming of sorts.”Formally trained as an architect, Downey began experimenting with different art forms when he moved from Paris to Washington DC in 1965. He developed a strong interest in the concept of invisible energy and shifted from object-based artistic practice to an experiential approach, seeking to combine interactive performance with sculpture and video, a transition the exhibition explores. Downey quickly established himself as an avant-garde pioneer of video and technology art and for the next two decades began to explore invisible forms of energy and communication, describing himself as a ‘cultural communicant’ and an ‘activating anthropologist.’ “Juan Downey: The Invisible Architect” will feature two of Downey’s best known series: Video Trans Americas (VTA), begun in the late 1960s; and The Thinking Eye, begun in the 1970s. VTA features footage of indigenous people he met on his journey through North and South America. The Thinking Eye  is a two-part work that includes  Las Meninas (1975) a meditation on Diego Velazquez’s masterwork of the same title, and The Looking Glass (1981), which explores the idea of reflection in western art, including in Holbein’s Ambassadors and Velazquez’s Las Meninas. Both Video Trans Americas and The Thinking Eye series highlight Downey’s preoccupation with political discourse, the self, the history of art, western civilization, and Latin American identity. Both works evidence his fascination with identity –his own as well as that of the various indigenous cultures he encountered – and his attempt to understand his identity within the context of western culture.
Juan Downey was born in Santiago, Chile in 1940. He studied architecture at Pontificia Universidad Católica de Chile. Following his studies, he lived in Paris for four years where he studied printmaking at Stanley William Hayter’s Atelier 17. In 1965 Downey moved to the United States, and settled permanently in New York City in 1969, where he lived until his death in 1993. He was an associate professor in both the School of Architecture and the media department at the Pratt Institute. Solo exhibitions featuring Juan Downey’s work include Juan Downey: Audio-Kinetic Electronic Sculptures, The Corcoran Gallery of Art in Washington DC; With Energy Beyond These Walls, Howard Wise Gallery, New York, NY, (1970); Video Trans Americas, Contemporary Art Museum, Houston, TX, (1976); Juan Downey: Video Trans Americas, Whitney Museum of American Art, New York, NY, (1976); Video Trans Americas, Everson Museum of Art, Syracuse, NY (1977); Juan Downey: New American Filmmaker Series, Whitney Museum of American Art, New York, NY (1978); Juan Downey, Matrix/Berkeley 16, University Art Museum, Berkeley, CA (1978); Une Forêt ‘Videoformes’: Retrospective Juan Downey, Festival de la Création Vidéo, Clermont-Ferrand, France (1993); Juan Downey: Instalaciones, Dibujos y Videos, Museo Nacional de Bellas Artes, Santiago (1995), Chile; Juan Downey: Con energía más allá de estos muros, Institut Valencià d’Art Modern, Centre del Carme,Valencia, Spain (1997-98); Retrospectiva de Video Arte de Juan Downey, Museo de Arte Moderno de Chiloé, Castro, Chiloé, Chile (2000); Plateau of Humankind, Honorable Mention: “Excellence in Art Science and Technology,” 49th Venice Biennale Chilean Pavilion, Venice, Italy (2001); and Juan Downey: El ojo pensante, Sala de Arte Fundación Telefónica, Santiago, Chile (2010). Downey’s work was included in numerous group exhibitions including Involving Technical Materials and Processes, organized by Experiments in Art and Technology, in collaboration with the Brooklyn Museum, Brooklyn, NY and The Museum of Modern Art New York, NY (1968); New Learning Spaces & Places, Walker Art Center, Minneapolis, MN (1974);  Whitney Biennial Exhibition, Whitney Museum of American Art, New York, NY (1975, 1977, 1981, 1983, 1985, 1987, 1989, 1991); Documenta 6, Kassel,Germany, (1977); Venice Biennale, US Pavilion, Venice, Italy, (1980); Sydney Biennale, Sydney, Australia, (1982); II Bienal de La Habana, Havana, Cuba, (1986); The Thinking Eye, International Center for Photography, New York, NY, (1987);  Passages de l’image, Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France, (1990);  Video Art: The First 25 Years, The Museum of Modern Art, and The American Federation of Arts, New York, NY, (1995); Info Art ’95, Kwangu Biennial, Gwangju, Korea, (1995); Electronic Highways, The Museum of Modern Art, New York, NY, (1997); and Rational/Irrational, Haus der Kulturen der Welt, Berlin, Germany, (2008-2009).The flagship cultural institution of the Bronx, founded in 1971, The Bronx Museum of the Arts focuses on 20th-century and contemporary art, while serving the culturally diverse populations of the Bronx and the greater New York metropolitan area. The museum’s home on the Grand Concourse is a distinctive contemporary landmark designed by the internationally-renowned firm Arquitectonica. The Bronx Museum of the Arts maintains a permanent collection of 20th and 21st-century works by artists of African, Asian, and Latin American ancestry. Additionally, the Museum collects works by artists for whom the Bronx has been critical to their artistic practice and development. The Museum’s educational offerings spring from these central programs with outreach to children and families as well as adult audiences. In its first decade, The Bronx Museum of the Arts was housed in the public rotunda of the Bronx County Courthouse located on Grand Concourse and 161st Street. In 1982, it moved five blocks north on the Concourse to 165th street into a former synagogue purchased and donated by the City of New York.As part of the Museum’s initiative to expand the scope of its youth and family programs, it began an ambitious capital project to enhance its facility. In February 2004, The Museum began construction on a 16,000 sq. ft. building to the north of the existing facility. Its design by the Miami-based firm Arquitectonica was awarded the “Excellence in Design” prize by The Art Commission of the City of New York in 2003. The $19 million space opened in October 2006 and features a major gallery, flexible events / program spaces, an outdoor terrace, and an entire floor dedicated to education programs and classrooms. Plans are underway to build a second structure on the existing site along with a moderate-income residential co-op tower (approximately 189 units). With this new expanded facility, it is the Museum’s hope to serve as a cultural leader in the South Bronx and as a catalyst for economic development within the surrounding communities. Visit the museum’s website at … www.bronxmuseum.org.Click on logo below to add this article to your favorite Social Website ~

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